Tuesday, July 26, 2016

sound check at the schindler house on kings road....


a picture of the "projections" of the trees on the screen for videos. i was lucky as hell to perform one more time in this, my favorite building in los angeles, and beyond. it was a beautiful evening to be able to use the modular in such a quiet space, mixing with natural sounds of the locale.

Friday, July 22, 2016

new CD on nature bliss japan - striations



  • includes digital pre-order of Striations (KK031). The moment the album is released you'll get unlimited streaming via the free Bandcamp app, plus a high-quality download in MP3, FLAC and more.
    digital album releases July 21, 2016
    item ships out within 3 days

      $17 USD or more


    more info here: 

Monday, July 11, 2016

group show at CRG gallery july 6 - august 5, 2016

CRG Gallery is pleased to present, I’ll Not Be In Your Damn Ledger, an exhibition of paintings by Steven Bindernagel, Tomory Dodge, Pia Fries, Sam Reveles, and Steve Roden. This show is comprised of works that reflect the multifarious engagements—ranging from the systematized to the organic—inherent to abstract painting. While the methodology varies greatly from artist-to-artist, this exhibition insists on a common thread: a discussion between freedom and form, as each artist confronts history, memory, and self. I’ll Not Be In Your Damn Ledger underscores the elemental tension, or play, manifesting materially and figuratively on the painting surface. Every artist in Ledger never fully indulges in one aspect of the process over another.
The multidimensional effects of Pia Fries’ playful wood panel paintings are both tactile and conceptual. Often, she blends thick waves of paint with collaged paper and silkscreened elements sampled from 18th Century scientific illustrations, and art historical sources such as the Baroque printmaker Stefano della Bella. These historical fragments serve as the “framework” for her bold, expressive mark-making. All of this occurs atop a stark-white surface. The four framed works in this show are from her Konstellation series, each containing three separate painted panels.
Elements of collage reign on the surface of Tomory Dodge’s paintings as well. With Dark Cloud, he layers painting “events” that push and pull—subvert and expose—the underlying pattern that sets the stage. Removing paint is as much a concrete gesture as the thick applications of color Dodge applies to the canvas. Some gestures repeat, like phrases in a sentence, vying for territory on the same field.
Impressions from the sky and sea form a latent background of Sam Reveles’ work. He begins his monochrome paintings with an almost automatic drawing process. Lines are woven until a cell-like network forms. He then works back into the painting, filling in cells intuitively, creating a binary effect where a given space is, or is not, filled. Reveles chooses a horizontal support for his paintings, rooting his work as much in the landscape tradition as abstraction.
Drawing remains a primary component of Steven Bindernagel’s work. In Salt Mine and Suture he applies sharp lines of paint with a frosting bag, building a palpable surface that is sanded down, reworked, and covered. Geometric forms mingle with fluid, atmospheric mark-making. The titles for these paintings are spontaneous derivations from Bindernagel’s personal history, and contact with the natural world far removed from his studio in New York City—another allusion to the duality he explores in his process.
The two works by Steve Roden, lines smote and one for each monk, were created after a one-year hiatus from painting. The paintings reflect Roden’s ongoing experimentation with painting methods and imagery borrowed from personal narratives, architecture, and memory. In each painting Roden builds the image, layer-by-layer, by dragging acrylic paint over the surface with cardboard, and removing masking tape to reveal layers beneath. At first glance, the suggestion of rigging, or latticework, dominate the surface. But the graphic iconography quickly loses its rigidity under closer scrutiny. The thin glazes of color, and edges that bleed, work to diffuse the structural unity initially imposed. Like all the artists in I’ll Not Be In Your Damn Ledger, Roden’s process is an endless transaction between stability and the abyss.



performance at the MAK / schindler house july 24

as part of the exhibition "routine pleasures" at the MAK / schindler house, i will be part of an evening of performances:

more here

7:00 pm

835 N Kings Road
West HollywoodCA 90069
(map)
Steve RodenLucky Dragons, and Simon Leung will present new performances as part of the exhibitionRoutine Pleasures, organized by Michael Ned Holte. Each performance is a response to the site and the context of the exhibition but also a continuation of each artist’s ongoing work. Steve Roden will begin with a sound performance utilizing a grouping of modular synthesizers from his collection. Lucky Dragons will continue their exploration of plural delectation, presenting poems in two voices. Simon Leung will conclude the program with a combination of video and text that extends his ongoing dialogue with Warren Niesłuchowski, the subject of his feature-length video War After War (2011).
7:30 PM Steve Roden
8:00 PM Lucky Dragons
8:45 PM Simon Leung

Monday, July 04, 2016

new cassette... a minute is actually an immense space of time.

A minute is actually an immense space of time. cover art

here is the link for the page on bandcamp here

each side is 10 one minute pieces done with the modular.

the title and image is from the film, hour of the wolf from ingmar bergman.
in the film, there is a scene with liv ullman and ingmar bergman are silent for one minute while listening to a ticking clock. beautiful.

Monday, May 30, 2016

COMING SOON from SONORIS... steve roden / in be tween noise 6 CD box set (1998 - 2003) 6 CD box set


very excited to announce that this june, the french label, sonoris, will release a 6 CD box set of rare and unreleased recordings from 1988 - 2003.

track list:

CD1 :
1. and go the great man (1990, the secret of happiness, first cassette)
2. trees (circa 1987, cassette, unreleased)
3. counting the ways and listening (1993, unreleased)
CD2 :
1. tube / fan / voice (1995, unreleased)
2. ash loop red island swarm (1994, unused track from the recordings for ‘humming endlessly in the hush’, unreleased)
3. cloud forms (1994, unused track from the recordings for ‘humming endlessly in the hush’, unreleased)
4. tree: sleep in heavenly peace (CDR, edition: 30, 1999)
5. of space enclosed (exhibition catalog: ‘translations and articulations’, 1997)
CD3 :
1. that i couldn’t breath (unreleased, 2002)
2. bird sleeping, bird walking (unreleased, 2001)
3. hanging garden [version] (unreleased, 2000)
4. view [bard version] (unreleased, 2002)
CD4 :
1. mint and ferns (unreleased, 2000)
2. chamber music (unreleased, 2003)
CD5 :
13 compilation tracks 1995-2003
CD6 :
9 compilation tracks 1999-2003

Monday, April 18, 2016

help my uncle realize his life's dream...

my uncle jeffrey has started a kickstarter... he has been a musician all of his life. he recently was contacted by the solaire label in berlin, who are interested in producing a series of CD's of my uncle's works. i'm helping my uncle to help fund his trip to berlin for the recordings, as the musicians are top notch! it is very important that this music is performed and heard... the kickstarter link is here 

Monday, April 11, 2016

a year without painting (text)

the press release that i wrote for my recent show...
"A year ago I decided to stop painting, and when the year was over I began to begin to paint again. After a year away, I hoped the making of a painting would feel different.

When the year without painting was over I felt uncomfortable and awkward, with new materials, a new pace of making, and new techniques… suddenly there were no brushes - only gloved hands and dragged cardboard. There was tape - inviting bleed - and acrylic paint exclusively. In all of this my intention was to “scrape” away the tropes that I had gathered along the way.

I should tell you that these works are filled with baggage - marks and images buried, cryptic and nearly invisible, in the hope that certain things might be sensed rather than seen. I have always been interested in imbuing works with deeply personal biographic marks or images (or whatever you call those things that sit upon a painting’s surface).

I am working from a palette of images, memories and instances that have fallen into my lap… such as the night that Edinson Volquez was pitching in the world series while his father was dying many miles away… and in that idea of integration, I am reminded by a quote from Allan Kaprow that goes like this:

'You can steer clear of art by mixing up your happening by mixing it with life situations.'

The new paintings continue to explore not only a graphic motif from the cover of a Domus magazine from my birth month and year, but also ideas around ritual and architectural form - specifically related to the fireplace and ceiling of R.M. Schindler’s Richard Lechner House (where I spent time as a child).

Recently, I have also been obsessed with a photograph of two seemingly insignificant pieces of wood about the size of the inner part of a closed fist. The photograph appeared in an auction catalog, and I was fascinated to discover that these seemingly ordinary, or pathetic objects were pieces of George Washington’s coffin, and as such, their presence transcends their objectness.

In some ways, this body of work is a conversation between the inside and the outside of things (specifically when making paintings).

Continuing my babbling and following breadcrumbs, it seems OK to place George Washington’s detritus alongside a few crumpled drawings made by Antonin Artaud, created through black magic, and thrown on the roofs of several of his enemies.

And oh! I just remembered that the first painting I made when I got out of grad school was a painting called “mouthpiece” in homage to the great Eric Dolphy… and so I made the painting with the brush held in my mouth. I know that I am not really offering you an explanation of what I’m doing, but I’m trying to tell you that I’m only capable of dancing around things, rather than knowing what they are.

And p.s. I forgot to tell you that my conversation is not necessarily an art conversation, as much as a continual scratching at the door of a room filled with unknown potential…"
january, 2016

Tuesday, March 15, 2016

let's get this right for a change...

here is the wikipedia site for "lowercase music":


Originally coined by minimal artist Steve Rodenlowercase is an extreme form of ambient minimalism where very quiet, usually unheard, sounds are amplified to extreme levels. (It is a common misconception that lowercase music primarily consists of lengthy silences.) Roden popularized the movement with an album entitled Forms of Paper, in which he made recordings of himself handling paper in various ways. These recordings were commissioned by theHollywood branch of the Los Angeles Public Library.

Steve Roden stated this about the lowercase tendencies in which he began to develop in his later works: “ It bears a certain sense of quiet and humility; it doesn't demand attention, it must be discovered... It’s the opposite of capital letters—loud things which draw attention to themselves.” Many artists have contributed to the lowercase movement, including Kim CasconeTetsu InoueBhob RaineyRichard Chartier, and Bernhard Günter.

Some of the labels that publish lowercase music are Trente Oiseaux12k, and Raster-Noton, which features composer Ryuichi Sakamoto in collaboration with Carsten Nicolai, a.k.a. Alva Noto.

here is how it should be: 

Originally coined by minimal artist Steve Rodenlowercase is not an extreme form of ambient minimalism, but it tends to be very quiet, where sounds usually unheard are amplified to reveal minimal characteristics of sound that would otherwise to hear. a common misconception is that lowercase music primarily consists of lengthy silences - which can happen, but are not necessarily a characteristic of all lowercase music. Roden popularized the movement with an album entitled Forms of Paper, in which he made recordings with contact microphones while handling a book's pages in various ways. The resulting recordings were used in a sound installation, commissioned by the Hollywood branch of the Los Angeles Public Library.

Roden began to think about lowercase as a stance or manifesto as an alternative to the noise one hears in almost every facet of public life. Roden uses the ideas of lowercase not only in relation to music or sound, but to attempt to live and work with a sense of quiet and humility. The ideas surrounding Lowercase were inspired by this passage in Rainer Maria Rilke's Letters to a Young Poet. 

"if you will cling to nature, to the simple in nature, to the little things that hardly anyone sees, and that can so unexpectedly become big and beyond measuring; if you have this love of inconsiderable things and seek quite simply, as one who serves, to win the confidence of what seems poor: then everything will come easier, more coherent and somehow more conciliatory for you".

Lowercase does not demand attention, it has to be discovered... It’s the opposite of capital letters.” Many artists have contributed to the lowercase movement. Some of the labels that publish lowercase music are Trente Oiseaux, 12k, and Raster-Noton.

Wednesday, February 10, 2016

please help artist robert turman with health expenses

the great artist/musician robert turman is having heart valve surgery and his family has put together  a gofundme to help raise money... please look at the link

https://www.gofundme.com/robertturman

robert's music is fantastic. spread the word!!!!!


Saturday, January 09, 2016

free performance at young projects LA january 22 at 8 pm

FREE 

Live performance for one night only 

The LA-based artist and composer, Steve Roden, who created the sound-scape for Orlovski’s “Skazka,” will be on hand for a live performance at Young Projects on JANUARY 22, 2016 

For this special occasion, Roden will perform a live improvised sound piece to Orlovski’s animation, using mainly a modular synthesizer. As in much of Roden’s work, his source material will include a selection of “found” audio materials, such as field recordings and the like, that respond to both, Orlovski’s visuals as well as his suggestions of memory, psychological projection, decay and regeneration.
 
This live performance will begin promptly at 8pm and last for approximately one hour

Monday, January 04, 2016

solo exhibition at susanne LA projects opening january 29, consisting of new paintings made after a year without making a painting...

i will have a solo show of new paintings opening january 29 at susanne vielmetter LA projects. these are the first paintings i've maid since i stopped painting for a year; and i hope you find them looking quite different. no oil, no brushes, and a lot of different materials and pace... more to come.  the show will also include a series of collaborative works on paper done with leslie ross-robertson (who mostly works with letterpress.)

 

Thursday, October 15, 2015

new cassette available NOW

Tuesday, October 13, 2015

if you happen to be in vancouver soon...

october 22 – 24, 2015
nomadic streams festival of ambient music
october 22 – 24, 2015; doors at 8pm, show at 9pm each night
vivo media arts (2625 kaslo street, vancouver)
nick storrings, steve roden, crys cole, dj olive,souns, loscil, marina rosenfeld, lawrence english, rafael anton irisarri, flux quartet.
http://newmusic.org/festival/nomadic-streams-a-festival-of-ambient-music-22-24-october-2015/

Tuesday, September 15, 2015

new drawing at parallel vienna 2015

PARALLEL VIENNA 2015

We cordially invite you to the opening of our exhibition on
Tuesday, September 22nd, 6 pm.
23. - 27.09.2015, 12 am - 7 pm
Alte Post, Dominikanerbastei, 1010 Vienna.
In September 2015 czirp czirp is participating in the art show PARALLEL VIENNA with a group presentation. The artists FÉLICIA ATKINSON (FR)JONÁŠ GRUSKA (SK),ANTONIA KUO (USA)MERJA KOKKONEN (FIN) and STEVE RODEN (USA) express themselves both through sound and visual art.
The selection of artworks and artists approaches is of heterogeneous character. The intention in this exhibition is to emphasize on the plurality of concepts dealing with sound aesthetics.
As the focus in past projects had mainly been on live music performance and sound installations with ephemeral character, czirp czirp now turned to choosing works from a representational angle addressing the possibilities of visual artistic expression developed through sound.
These visualizations of sonic perception are to be seen in relation to the predominantly visual or context based conceptions and attempts to understand art as well as current aesthetic approaches. What unfolds are questions directing to accessibility and distribution of art works, poetics and language as well as a Materialist understanding of sound embedded in the process of artist's work.
Looking forward to see you!

Monday, September 14, 2015

september 19 at mare island... simon scott, steve roden, mark van hoen, touch “live mix”

september 19, 2015

re:sound presents touch:
co-presented by 23five incorporated and touch

simon scott, 
steve roden, 
mark van hoen, 
touch “live mix”
doors open at 3pm • $10.00 • advanced tickets
location:
magazine a-168 • railroad ave. & mercado ct. • mare island,vallejo

Monday, September 07, 2015

free download new record with glenn bach

water in the hollow eyes of the blue, finally

by Steve Roden & Glenn Bach


In 2012, Glenn Bach and Steve Roden were invited to create a live soundtrack to Bleu Remix, a performance-installation by Yann Marussich, where the artist reclines inside a glass box, and, over time, begins to sweat blue pigment from the pores in his skin, manifesting the act of movement by remaining perfectly still. 

Using source files provided by Marussich, Bach and Roden created a palette of sonic material for the evening's performance, transforming the original sounds beyond recognition. During the concert, Bach and Roden processed the sounds yet again, live, as the audience contemplated Marussich reclining, and sweating, in his glass vitrine. 

The resulting concert recordings inspired a subsequent studio session in Roden's garage, where the artists improvised an entirely new interpretation of the sound sources throughout the various stages of transformation. The resulting performance was recorded live with no overdubs. 

Friday, September 04, 2015

coming soon: a new cassette


Thursday, August 27, 2015

performance sunday evening FREE

Sunday August 30, 2015 @ 6:00PM
Free


Los Angeles Contemporary Archive
2245 E Washington Blvd 
Los Angeles, CA 90021

performances by Yann Novak and Steve Roden

Wednesday, August 19, 2015

from an unknown radio station playlist...

Steve Roden - Forms of Paper
Dr. Dre - Compton

um... doesn't get any better than that...